NC Music Educator Spring 2018

implications for music teacher education practice.
Dr. Cindy Wagoner, ECU, presented Music Teacher Identity
Development: A Longitudinal Study with a Dr. Kristen Pellegrino,
University of Texas, San Antonio; Dr. Sean Powell, University of
North Texas; and Dr. Erik Johnson, Colorado State University,
working on a longitudinal multiple case study project. The
researchers discussed their use of Olsen’s (2008) six elements of
teaching identity as a theoretical framework, which offered new
insights into music teacher identity development. The framework
informed the interview questions and coding as the participants
were followed from pre-service through the first year of teaching.
The narrative of the participants’ stories highlighted their teacher
identities and resiliency.
Posters
A poster session is a popular way to highlight strong research
from across the country, as it can involve more researchers, and
provides a synopsis of the research so attendees might peruse many
ideas in a shorter amount of time. Posters are a short story, a visual
way of presenting the research to a specific audience of people.
Dr. Daniel Johnson, UNCW and C. Palmer, Ball State
University presented 21st Century Music Pedagogy: Integrating
Creativity and Critical Reflection For Lifelong and Diverse
Musicianship. They examined what it means to be a creative,
critically-reflective music educator in the 21st century. Situated
in contexts of diversity, inclusion, equity, and access, Johnson
and Palmer discussed trans-disciplinary and lifelong learning,
purposefully-structured environments, and integrated school
curricula.
Dr. Daniel Johnson, of UNCW presented Including Traditional
Instrument Pedagogy: Perspectives of Experienced Musicians
on Diverse Transmission Practices. The study investigated the
influences of prior musical experience on traditional instrument
pedagogy. The researcher interviewed twelve Great Highland
Bagpipe musicians and found four emergent themes: advantages,
limitations, aural transmission, and
instrumental complexity. Implications
involve expanding music teachers’
instructional techniques and including diverse
multicultural musical traditions.
Dr. Daniel Johnson UNCW, joined Dr.
Wendy Matthews, Wayne State University;
Dr. Karen Koner, California State University,
Stanislaus; and Dr. Kasia Bugaj, Florida State
University; to present Inclusive and Accessible
Large Ensemble Strategies for Experienced
Music Teachers. This research explored how
conductors set up, organize, motivate, and
conduct ensembles for collaborative exchange
of leadership. Although steeped in tradition,
large and small conventional ensembles
offer a range of meaningful opportunities for
conductors to connect student-musicians with
their peers and the music itself.
Dr. Jay Juchniewicz and Dr. Cindy
Wagoner, both of ECU, presented A Critical
Analysis of edTPA Writing: An Exploratory
Study. Because previous research findings
music.appstate.edu
have indicated the writing abilities of teacher candidates may play a
pivotal role in success on the edTPA, this study sought to examine
several aspects of candidates’ edTPA writing as well as previous
reflective writing. Based on official Pearson scoring data for the
edTPA from 2016 – 17, two groups of students scoring above and
below the cut score of 45 were compared. While no significant
differences were found between the two groups for overall word
count, a moderate correlation was found between word count
and overall score. Additionally, further analysis of word selection
for both the edTPA and previous reflective writing indicated a
propensity for use of specific vocabulary.
Dr. Evelyn Orman and Dr. Jennifer Whitaker, both of UNCC,
partnered with Dr. Harry Price, Kennesaw State University and
Dr. Deborah Confredo, Temple University to present Effect of
an Augmented Immersive Virtual Reality Learning Environment
on Wind Band Conducting Skills: A Preliminary Report. They
examined an augmented immersive virtual reality learning
environment used to enhance correct eye contact, torso movement,
and conducting gestures with forty university music students.
Participants who experienced the augmented VR learning
environment exhibited significantly more correct torso movement
and gestures than those who did not.
As you can see, there is a wide variety of exciting research
going on in our state. There are journals you can check out
beyond the Music Educators Journal*, Teaching Music*, and
General Music Today*, if you are interested in some of the research
studies presented here. Look for the Journal of Research in Music
Education*, Update: Applications of Research in Music Education*,
Music Education Research, Bulletin of the Council for Research
in Music Education, International Journal of Music Education,
Journal of Music Teacher Education*, or Research Studies in Music
Education. The asterisks indicate journals available to NAfME
members online. Interested in undertaking research in your
classroom? Contact the Higher Ed section and we will help connect
you with a university researcher!
APPALACHIAN STATE UNIVERSITY
Music Therapy
Music Education
Music Industry Studies
Undergraduate Studies:
Music Performance
Sacred Music
Theory and Composition
Graduate Studies:
Music Therapy Music Performance
Boone, North Carolina
Jazz
It has been a busy spring in the Jazz section. We
completed our first round of All-State auditions with
the new format. We then had a wonderful All-State
Clinic, with it being hosted for the first time at North Carolina
State University on April 13 – 14. Please keep in touch with
the website about changes in next year’s auditions. Also, please
send in applications to perform at this year’s conference to
jazz_chair@ncmea.net. We wish all of the groups participating
in Jazz MPA’s the best of luck. Consider using that recording to
apply to play at this year’s conference. Below are the biographies
of our clinicians for our wonderful All-State Jazz Bands.
Bryan Carter
With a confidence reflecting an
instrumental and compositional
maturity that both belie his age
and announce the arrival of a
remarkable talent, Bryan Carter
exudes what promises a highly
successful career.
Shortly after completing his
training at The Juilliard School
in New York City and still at the
very outset of his career, Carter
has already played and/or recorded with many notable artists
including Clark Terry, McCoy Tyner, Wynton Marsalis, Branford
Marsalis, Mulgrew Miller, Jon Faddis, Ted Nash, Terell Stafford,
Bobby Watson, Lew Tabackin, Kenny Barron, Cyrus Chestnut
and currently tours with vocalists Michael Feinstein and Kurt
Elling.
Carter’s profound respect for the jazz tradition and his ability
to create new music that reflects a deep connection to this rich
heritage is not surprising given his background. Beginning
drums at the age of three, Carter quickly developed a strong
passion for music — especially jazz. By the age of eleven he had
already studied with legendary drummers Louie Bellson, Harold
Jones, and Ed Thigpen.
He attended The Juilliard School as a jazz studies major and
studied with Carl Allen and Kenny Washington. He was the
recipient of the Irene Diamond Scholarship as well as the Samuel
L Jackson Scholarship. While at Juilliard, Carter took a strong
interest in composition, orchestration and interdivisional crosscollaborative
performance.
As a new artist, Carter’s access to extensive outlets lead to
performances at iconic and globally recognized venues including
Lincoln Center, Carnegie Hall, The Staples Center and the
Chicago Symphony Center. He also continues to travel and
Keith Grush, Chair
perform at clubs, festivals and concert halls around the world.
The Bryan Carter Quintet released its first CD entitled
“Enchantment” in May 2011, which peaked in the top 15 of the
Jazz Week radio charts and CMJ Jazz charts.
Carter has also conducted clinics, master classes and
workshops at schools, colleges and universities around the
world. Currently, Carter serves as a teaching artist for the Jazz
at Lincoln Center, “Jazz for Young People” program in New
York City and The House Drummer for NBC’s Maya and Marty.
Bryan endorses Sakae Drums, Vic Firth Drumsticks, Remo
Drumheads, Zildjian Cymbals and 64 Audio Monitors.
Wes Parker
Dr. Wes Parker has served as
the director of jazz studies at North
Carolina State University since
2006. He directs the jazz ensembles,
coaches jazz combos, teaches jazz
history and jazz improvisation,
and instructs students in the low
brass studio. He holds a Bachelor
of Science in music education from
Tennessee Tech University, a Master
of Music and a Doctor of Musical
Arts in trombone performance and pedagogy performance from
The University of Southern Mississippi.
Parker’s trombone playing has been heard in jazz ensembles
and orchestras throughout the United States. As an active
freelance musician, Parker has performed with such artists
as Branford Marsalis, Ellis Marsalis, Michael Feinstein, Josh
Groban, Aretha Franklin, Idina Menzel, Regis Philbin, Placido
Domingo, the Jimmy Dorsey Orchestra, the Temptations, and
the Pointer Sisters.
Under Parker’s direction, the jazz program at NC State has
grown to offer six performing jazz ensembles, and has hosted
such great jazz musicians as Wayne Bergeron, Jeff Coffin, Bobby
Shew, Chris Vadala, Jiggs Whigham, and Harry Watters.
An active clinician, Parker has worked with middle school,
high school, and collegiate jazz ensembles, as well as numerous
marching bands throughout the Southeast. Prior to his
appointment at NC State, he served as the interim professor of
trombone at The University of Southern Mississippi, and spent
time teaching public school in Mississippi and Oklahoma.
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